12th century circa, Tibet, Tara, copper alloy, private collection, photo by Bonhams.
Green Tara is seated on a tall Pala-style base, her right foot on a lotus, the stem of a lotus in her left hand, another wound around her right arm, the right hand displaying the fear-allaying gesture. We will note her left foot resting on the right thigh.
12th-13th century, Tibet, Tara, copper alloy, at the National Gallery of Canada.
Another Pala-style image of her with the left foot resting on the right leg. Her hands display the ‘turning the wheel of dharma‘ gesture, she wears a very ornate floral and festooned headdress with a leonine medallion at the centre, foliate armbands, large hoops, a beaded necklace, plain bracelets and anklets, a long lower garment held in place with a belt.
13th century, Southern Tibet, Tara, brass, same as before.
A similar hair ornament with a large leonine head at the centre, her hair fastened into two bunches, her garment richly decorated with incised floral panels, a diamond incised in the palm of her hands. Her left leg is drawn in, with the big toe wide apart.
Labelled ’10th-12th century origin Kashmir or Nepal’ by the Museum, 14th century, Tibet on Himalayan Art Resources, Tara, brass with turquoise and cold gold, at the Royal Ontario Museum in Canada.
This Pala-style work portrays her with her hair fastened into a bunch on one side and another type headdress, with flowers, bows and ribbons. A broad necklace covers the top of her chest.
18th century, Tibet, Tara, at the Ashmoleum Museum in Oxford (UK).
This is an example of the late Pala-revival style, the goddess’s left hand holding a lotus and leaning on her left knee, her right hand displaying the fear-allying gesture.
18th century, Western Tibet, Tara, bronze (copper alloy) with silver inlay, at the National Gallery in Prague (Czech Republic).
On this variant the left hand simply rests over the knee, the toes of the left foot are held wide apart. Silver inlay has been used for the floral and vegetation pattern on both garments.